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AMS Neve DFC used for Independent Films and Blockbusters at Sound OneMultiple Award-Nominated Mixers Rely on DFC for Woody Allen's The Curse of the Jade Scorpion and Upcoming Christmas Releases (August 28, 2001)
Sound One, part of the Liberty Livewire family of companies, owns three DFC's - two 72-fader boards and an 80-fader console - all in constant use for the 100-plus films mixed each year at the Manhattan-based facility. Aside from a steady stream of future mid-budget and independent films, Sound One's mixers are set to work on three major Christmas releases - Martin Scorcese's Gangs of NewYork, Lasse Hallstrom's film version of the best-selling novel, The Shipping News, and Wes Anderson's The Royal Tenenbaums.
Jonathan Porath, Vice President, Chief Engineer at Sound One, said that the rising stature of New York as a filmmaking center in general, and Sound One as a post-production institution in particular, has given the DFC ample opportunityto show off its versatility and gorgeous sound. "The DFC is a powerful machine that sounds great, offers amazing automation and provides endless possibilities for structuring your EQ and going back to change things," Porath said. "All you have to do is pop in the disk, load the mix and you're ready to go."
According to Porath, Sound One has been on the cusp of a trend in film making: More auteur directors, emboldened by the DFC and digital editing equipment at their fingertips, are going back to make editing and sound revisions, even after a film is complete. "In the old days, you'd have to write down the levels and other parts of the mix, and even then you'd spend hours trying to match what you did before," Porath said. "It was tremendously laborious, and sometimes you couldn't even re-create half of the audio. Although the initial setup with a DFC may take a little more time than with conventional consoles, you save time in the long run. Once you're flying with a mix, you find that landing and flying again with the DFC is really easy. It's the press of a button. And that's part of the beauty of the DFC."
Woody Allen is one director who is not part of a trend toward more tweaking, Porath said. While certainly an auteur, Allen has such a definitive artistic vision that he usually requires fewer changes, and those he wants are normally of a reductive nature. "Usually a session with Woody requires taking out audio that's been added," Porath said. "He doesn't want anything to distract the viewer from the plot or characters."
Allen's new film is a caper comedy set in 1940 about a hypnotist (David Ogden Stiers) who uses an efficiency expert (Helen Hunt) and an insurance investigator (Allen) to stage an elaborate heist. Re-recording mixer Barry worked to achieve a period feel, particularly with the music that Allen selected. A hallmark of Allen's films is his use of jazz and early 20th Century popular standards, and in that respect, Curse is no different. "Much of the music is taken from historic collections," Porath said. "To keep the period feel, the sound crew had to clean the tracks without losing the authenticity of the recording. You want the audience to hear the needle drop."
AMS Neve is dedicated to the design and manufacture of professional audio equipment for world-class audio facilities. The company provides a range of integrated and scalable equipment solutions, focussed on three key applications: Post Production for Film & Video; Broadcast/Live Production; Music Recording. AMS Neve products offer high performance solutions for today's connected world.
Related Keywords:Woody Allen, Curse, Jade Scorpion, fader console, Manhattan-based facility
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